It's somehow incomprehensible why somebody with the charisma and the talent of the Detroit's powerhouse Eliza Neals has not been signed yet by a major music label. Her 2015 album Breaking And Entering was welcomed as one of the top blues/rock albums of the year, deserving in full the many accolades received not just in the United States but also by the majority of the music experts and fans worldwide.

10,000 Feet Below, Neal's new album just released few months ago, is an ulterior, artistic statement of the versatility and the natural ability of the singer/songwriter on being able to switch music genres with great class in the blink of an eye, still maintaining a power of expression, both on her lyrics and her vocals, of an impressive level.

The opening tune Cleotus is the most natural and honest business card that Eliza Neals can offer to any new and old fan, just to give a strong gist of what her vision of music is all about. This semi-acoustic tune gives the opportunity to the listener to focus on Neal's vocal range and its depth, thanks to the sole accompaniment of the acoustic guitar and hand-clap providing the best possible platform to enhance even more the artist's vocal performance.

When it comes to sing the Blues, Eliza Neals is certainly able to wear and display the most elegant musical dress that she owns with great grace, something that transpires clearly on songs like Another Lifetime, You Ain't My Dog No More and Call Me Moonshine. Supported by the impressive rhythm section of her trusted backing band The Narcotics and by the outstanding work on guitars coming by musician extraordinaire Howard Glazer, the Detroit's singer/songwriter shows great finesse and maturity in the execution of those songs, chiseling her singing style perfectly to the changes of tempos and moods created by her musicians on such tunes.

Neals doesn't pull back on any moment of the album and her attack to each song is as powerful as a steamroller can be. When she rocks, she really does so. The song Burn The Tent Down is perfectly designed to show both the power and the strength of Neal's vocals and Howard Glazer's thunderous guitar sound. This musical dualism created by Neals and Glazer gives an extraordinary impact to this song, emphasizing once again a remarkable, artistic understanding between Neals and Glazer.

If it is true that artists show how really creative and skilled they can be, especially when they succeed to step into unfamiliar musical territories, the closing At The Crossroads, featuring Billy Davis on guitar, gives complete justice to Eliza Neal's natural ability as a songwriter and a performer. The dreaming atmospheres created by Neal's piano and Davi's guitar, accompanied by the almost ethereal and supernatural sounding voice of the Detroit's born artist, sums up beautifully Neal's class and personality, showing, at the same time, the full extent of her musical arsenal on impressive levels, throughout the whole of 10,000 Feet Below.

Eliza Neal's artistic growth is visible on each new album that she releases. 10,000 Feet Below is a record that showcases the many layers of a musician able to rise her musical game on new highs. Most importantly, it's the record that defines once and for all Eliza Neal's as one of the rising stars of the musical firmament.







10,000 Feet Below is out now and it is available via the artist's Official Website